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In preparing the production, Warlikowski also managed to disregard the usual repertory theatre obligation to select the cast from among the resident company of actors at the Teatr Nowy, and to invite a guest actor (Klijnstra) to play Zucco.
, he had been working actively in theatre for two years, having secured a professional debut at one of the country’s most prestigious repertory theatres, the Stary Teatr (Old Theatre) in Kraków – a noteworthy step for a young graduate director in Poland.
The narrative portrays the efforts of a lost young man struggling to define his identity, and to find a place within his family and society.
This brief synopsis gives an indication of some key elements that interested Warlikowski in the play, while also reflecting certain elements of his own biography.
Although Warlikowski’s theatre has attracted considerable media and critical attention throughout Europe over the past decade, the trajectory of his development as a director, the process by which his ensemble was created, and the core relationships that have emerged within it, as well as the particular characteristics of his rehearsal practice, remain neglected areas of research.
This essay aims to make a contribution towards filling this gap, and to shed light on how the work of Warlikowski and his collaborators comes into being.
This adaptation of Koltès’ play is a key example of intertheatricality operating at many levels.
Firstly, it illustrates how the resemblance between the director’s and the playwright’s biographies plays a role in Warlikowski’s process of self-discovery, and exemplifies his practice of working on texts that resonate with his own life experiences.
This paper looks for connotations within – and creates ‘theatre texts’ from – the conditions and circumstances that surround both Warlikowski’s creative process and the ‘post-premiere’ production histories of his performances.
What, then, constitutes the web of interdependencies that serve as ‘theatre texts’ in this analysis?
An awareness of various key processes involved in their approach will help to clarify the ethos that underpins this theatre-making, which is based on the exceptional levels of commitment of the creators, the ‘authenticity’ of their contributions, and the quest to share their personal experiences with spectators.
The collaborative process that led to the establishment of Warlikowski’s ensemble, which was closely linked to the director’s personal search for his own ‘theatrical language’, can be traced through several different aspects.
Koltès and Warlikowski have much in common: homosexuality, the initial marginalisation of their work in their native countries, a feeling of displacement within their own cultures, and a need to challenge their audiences by questioning myths and engaging with controversial issues linked to otherness and marginality.